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In a garden glade before a grand fountain, surrounded by a musical party, an elegant woman in a lustrous white gown dances as part of a foursome, raising her eyes to the viewer as if extending an invitation to the dance. This is the enticing scene in the J. Paul Getty Museum's painting "Dance before a Fountain" by Nicolas Lancret (1690-1743), an excellent example of the fete galante, a genre that was created and reached the peak of its popularity in France during the first half of the eighteenth century. This monograph seeks to familiarize American audiences with Lancret, a master of this genre, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Francois Boucher, and a favourite of crowned heads across Europe. Mary Tavener Holmes's engrossing text uses this painting as a springboard to reveal a remarkable amount about the painter, his mode of painting, Paris at the time this work was made, eighteenth-century dance, and the world of art patronage and collecting in France and elsewhere in the eighteenth and nineteenth centuries. Lavishly illustrated with comparative paintings by artists such as Watteau, Boucher, Peter Paul Rubens, Jean-Francois De Troy, Jean-Baptiste Oudry, and Hubert Robert, this fascinating peek into a bygone Parisian era is a treat for the eyes and the intellect alike.
With this widely acclaimed work, Michael Fried revised the way in which eighteenth-century French painting and criticism are viewed and understood. Analyzing paintings produced between 1753 and 1781 and the comments of a number of critics who wrote about them, especially Dennis Diderot, Fried discovers a new emphasis in the art of the time, based not on subject matter or style but on values and effects.
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
A Civil Society explores the struggle to initiate women as full participants in the masonic brotherhood that shared in the rise of France's civil society and its "civic morality" on behalf of women's rights. As a vital component of the third sector during France's modernization, freemasonry empowered women in complex social networks, contributing to a more liberal republic, a more open society, and a more engaged public culture. James Smith Allen shows that although women initially met with stiff resistance, their induction into the brotherhood was a significant step in the development of French civil society and its "civic morality," including the promotion of women's rights in the late nineteenth century. Pulling together the many gendered facets of masonry, Allen draws from periodicals, memoirs, and archival material to account for the rise of women within the masonic brotherhood in the context of rapid historical change. Thanks to women's social networks and their attendant social capital, masonry came to play a leading role in French civil society and the rethinking of gender relations in the public sphere.
An introduction by Thomas Crow describes the peculiar circumstances under which these texts were written, and concise notes make it possible for non-specialist readers to keep their bearings in the vividly evoked world of late eighteenth-century Paris.
Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and shows how her ideas relate to broader currents in French aesthetics and culture.
A volume which embodies an entire generation of scholarship on the artist. Seurat's brief but brilliant career is traced from his early academic drawings of the 1870s to the paintings of popular entertainments and the serene landscapes of his final years.
By the end of the nineteenth century, women had become an undeniable force both in the public discussion of social life and in politics itself. Yet in art and literature women's bodies continued to be represented—and domesticated—by men. They were still more often the object of the artist's or writer's gaze than they were the subject of their own representing processes. The erotic potential of women's bodies, however, was far from a marginal concern in the elaboration of modern forms of politics, art, literature, and psychology. In Eroticism and the Body Politic, scholars from art history, history, and literature examine the frequent intersections between the body erotic and the body politic. Focusing on eighteenth- and nineteenth-century France, they show how eroticized representations of bodies had a multitude of political and cultural meanings. The authors consider the eroticized body in a wide variety of media: from Fragonard's paintings of "erotic mothers," to political pornography attacking Marie Antoinette, to the "new woman" of fin de siècle decorative arts. Exploring the possibilities of a multidisiplinary approach, the volume shows that eroticism had an impact far beyond the usual confines of libertine or pornographic literature—and that politics included much more than voting, meeting, or demonstrating. At a time of general methodological ferment in the "human sciences," Eroticism and the Body Politic brings fresh approaches to the developing field of cultural studies.
The J. Paul Getty Museum Journal 17 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, decorative arts, drawings, and photographs. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 17 includes articles written by Elisabeth Doumeyrou, Gerhard Gruitrooy, Lee Hendrix, Clark Hulse, David Jaffé, Jean-Nérée Ronfort, and Belinda Rathbone.